User:Stlsnyde/Sandbox

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Locations of Khipus[edit]

According to the Khipu Database Project [1] undertaken by Harvard professor Gary Urton and his colleague Carrie Brezine, 751 khipus have been reported to exist across the globe. Their whereabouts range from Europe to North and South America. Most are housed in museums outside of their native countries, however some do reside in their native locations under the care of the descendants of those who made the mystery knot records. The largest collection of all is found in western Europe at the Museum für Völkerkunde in Berlin, Germany with a reported 298 khipus. The next largest collection in Europe can be seen at the Museum für Völkerkunde [2] in Munich. Pachacamac [3] in Peru and the Museo Nacional de Arqueologia, Antropologia e Historia [4] in Lima, Peru each hosue 35 khipus and the Centro Mallqui [5] in Leymebamba, Peru holds a collection of 32. The Museo Temple Radicati, Lima, Peru houses 26, the Museo de Ica, Ica, Peru has 25 and the Museo Puruchuco,[6] Ate, Peru has 23. While patrimonial khipu collections have not been accounted for in this database, their numbers are likely to be unknown. One prominent patrimonial collection held by the Rapazians of Rapaz, Peru was recently researched by University of Wisconsin-Madison professor, Frank Salomon.


Preservation Issues[edit]

In preservation and library science, theory and practice go hand and glove in maintaining artifacts and the intellectual record while providing access for future generations. Issues of preservation of khipus are addressed using the most appropriate techniques that will allow the artifact to endure with the least amount of artifactual degredation as possible, for years to come. Museums, archives and special collections have adopted preservation guidelines from textile practices. Khipus are made of fibers either from a protein, such as spun and plied thread like wool or hair from camelids such as alpacas, llamas and camels or from a cellulose like cotton. The knotted strings of the khipus were often made with "elaborate system of knotted cords, dyed in various colors, the significance of which was known to the magistrates" [7] Preservation of color, natural or dyed, is an issue that can not be reversed if fading has already occurred and may indicate further damage to the fibers. Colors can darken with the onset of dust as well as with the use of certain dyes and mordants. Khipus have been found with adornments such as animal shells attached to the cords and these non textile materials may include additional preservation steps.

All textiles are damaged by ultraviolet (UV) light. This damage can include fading and weakening of the fiberous material. Environmental controls are used to monitor and control temperature, humidity and light exposure to storage areas. The heating, ventilating and air conditioning, or HVAC systems, of buildings that house khipu knot records are usually automatically regulated. Relative humidity should be 60% or lower with cool temperatures to compliment. High temperatures can increase embrittlement and deterioration of the khipu fibers. Damp conditions and high humidity levels can cause unwanted conditions when a protein rich material is present. As with all textile, cool, clean, dry and dark environments are most suitable. When khipus are on display their exposure to normal ambient conditions is usually minimized and closely monitored.[8]

Khipus are also closely monitored for mold, along with insects and their larvae. As with all textiles, these are major issues.Fumigation may not be a recommended method for fiber textiles displaying mold or with insect infestations, although it is common practice for ridding paper of mold and insects.

Storage is often a time when damage can occur to a collection. The more accessible items are during storage, the higher the chances of early detection. [8] Storing khipus horizontally on boards covered with a neutral pH paper (paper that is neither acid or alkaline to prevent potential acid transfer is a preservation technique that extends the life of a collection. Extensive handling of khipus can also increase the risk of further damage. The fibers can be abraided by rubbing against each other or for those attached to sticks or rods by their own weight if held in an upright position.[9]

When Gary Urton, professor of Anthropology at Harvard was asked "Are they [khipu] fragile?" He answered, "some of them are, and you can't touch them--they would break or turn into dust. Many are quite well preserved, and you can actually study them without doing them any harm. Of course, any time you touch an ancient fabric like that, you're doing some damage, but these strings are generally quite durable." [10]

Ruth Shady, a Peruvian Archeologist has discovered a khipu believed to be around 5000 years old in the coastal city of Caral. It was discovered quite well preserved with "brown cotton strings wound around thin sticks", along with "a series of offerings, including mysterious fiber balls of different sizes wrapped in 'nets' and pristine reed baskets. Piles of raw cotton - still uncombed and containing seeds, though turned a dirty brown by the ages - and a ball of cotton thread" were also found preserved. The reason for the well preserved khipu and other artifacts, can be attributed to the aridcondition of the 11,500 feet elevated location of Caral. (I can't find this article again to cite!!!)


Conservation[edit]

Even when prevention and stabilization attempts have occurred, corrective care may still be required. Conservators in the field of library science have a skill set to handle a variety of situations. If khipus are to be conserved close to their native origin or birth place, local camelid or wool in natural colors can be obtained and used to mend breaks and splits within the cords.[11] Assessment of each individual cord, even though some khipu have been recorded to have hundreds of cords, is required and conserved individually. Khipu cords can be "mechanically cleaned with brushes, small tools and light vacuuming". [11] Just as the application of fungicides are not recommended for ridding khipus of mold, neither are the use of solvents for cleaning and ridding khipus of dirt. Rosa Choque Gonzales and Rosalia Choque Gonzales, conservators from southern Peru, worked to conserve the Rapaz patrimonial khipus in the Andean village of Rapaz, Peru. These khipus had undergone repair in the past, so this conservator team used new local camelid and wool fibers to spin around the area under repair in a similar fashion to the earlier repairs found on the khipu.[11]


Notes[edit]

  1. ^ "Khipu Database Project".
  2. ^ "State Museum of Ethnography".
  3. ^ "Museo de Pachacamac".
  4. ^ "Museo Nacional de Arqueologia, Antropologia e Historia".
  5. ^ "Centro Mallqui".
  6. ^ "Museo Puruchuco".
  7. ^ Bingham, Hiram (1948). Lost City of the Incas, The Story of Machu Picchu and its Builders’.. New York: Duell, Sloan & Pearce. OCLC 486224.
  8. ^ a b "Conservation Register".
  9. ^ Piechota, Dennis (1978). "Storage Containerization Archaeological Textile Collections". Journal of the American Institute for Conservation. 18: 10–18.
  10. ^ "Conversations String Theorist".
  11. ^ a b c Salomon, Frank; Peters,, Renata (2007), Governance and Conservation of the Rapaz Khipu Patrimony., Forthcoming.{{citation}}: CS1 maint: extra punctuation (link) Cite error: The named reference "Salomon" was defined multiple times with different content (see the help page).


References[edit]


Additional Bibliography[edit]

See Also[edit]


External links[edit]

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